A three-part series published between November 1993 and January 1994, the series introduces attorney Beck as a love interest for Brock. When Beck pursues a lawsuit against Scarmore Industries for employees poisoned by a sentient liquid-mercury virus, Venom is injured trying to protect her from the Juggernaut‘s kidnap attempt. The symbiote is submerged and infected with the sentient virus (which heals Brock), bonding with the pair and introducing a third mind into their relationship. The virus drives Brock insane (causing him to murder a cleaning lady), and he is physically transported to the realm of insanity to confront its avatars: Paranoia, Dusk and the Necromancer. The symbiote overcomes the virus; Brock regains his senses, and Venom is returned to earth. Beck later insists on only being Brock’s friend, because his romantic feelings for her make him more violent.
X-Men: The End is a 2004-2006 trilogy of miniseries published by Marvel Comics, detailing the last days of the X-Men and their adventures in an alternative future. The series, which was part of Marvel’s The End line of books, was written by Chris Claremont and drawn by Sean Chen, with cover art by Greg Land and Gene Ha.
The first part of the miniseries is titled Dreamers and Demons, the second Heroes and Martyrs, and the third Men and X-Men. As it was originally conceived, several years before its actual debut, this series would have re-teamed Chris Claremont and John Byrne, with Byrne providing plots and art and Claremont providing dialogue. Yet after a dispute with Marvel following the cancellation of Byrne’s ongoing series X-Men: The Hidden Years, Byrne left the publisher.
The story of X-Men: The End continues in the 2008 GeNext mini-series, then again in the 2009 mini-series, GeNext: United.
Arrgh! ran for five issues between December 1974 and September 1975. Each issue of Arrgh! presented humorous horror stories, often parodies of well-known movies or TV shows. Marvel Humor in a Jugular Vein.
Running concurrently with the longer-running Marvel comic Tomb of Dracula, the continuities of the two titles occasionally overlapped, with storylines weaving between the two. Most of the time, however, the stories in Dracula Lives! were stand-alone tales by various creative teams. Later issues of Dracula Lives! featured a serialized adaptation of the original Bram Stoker novel, written by Roy Thomas and drawn by Dick Giordano.
The magazine format did not fall under the purview of the Comics Code, allowing the title to feature stronger content — such as moderate profanity, partial nudity, and more graphic violence — than Marvel’s “mainstream” titles. The larger format allowed the interior artists to “stretch out” a bit more. Painted covers of the series were done by artists like Boris Vallejo, Neal Adams, and Luis Dominguez. Dracula Lives!‘ text and photo articles were mostly of the Count’s various film appearances. The title of the magazine’s letter column was “Dracula Reads!”
Centers around a specific Marvel character or group, exploring different facets of their history, personalities, and adventures and features a rotating cast of all-star creators, with art entirely colored in white, black and red. Often structured as anthologies, featuring multiple short stories by various creators within each issue.
Remender said, “There’s something that Cyclops said to (Captain America) on Utopia that’s ringing in his head. He didn’t do enough to help. And Steve (Captain America) is taking that to heart. Coming out of AvX with the landscape shifted and changed as much as it is, there are events that lead Steve to recognizing that he needs to do more”.
Nextwave is a humorous comic bookseries by Warren Ellis and Stuart Immonen, published by Marvel Comics between 2006 and 2007. Nextwave consistently features extreme violence and comedy, and simultaneously satirizes and celebrates Marvel’s superhero comics. The series frequently uses flashback scenes in which existing Marvel characters such as Captain America, Ulysses Bloodstone and the Celestials act grossly out of character for comedic purposes. In an interview, Ellis said, “I took The Authority and I stripped out all the plots, logic, character and sanity.” “It’s an absolute distillation of the superhero genre. No plot lines, characters, emotions, nothing whatsoever. It’s people posing in the street for no good reason. It is people getting kicked, and then exploding. It is a pure comic book, and I will fight anyone who says otherwise. And afterwards, they will explode.”
After being elected New York City’s mayor due to his activities under the Darkforce Dome, Wilson Fisk has been quietly amassing both political power and an underground army of super villains. To test the effectiveness of his recruited villains, the Thunderbolts Units were dispatched against the Symbiote Invasion to a desired outcome. Now, with meticulous intelligence gathering and patient machinations, Fisk is ready to use his accumulated resources in order to finally rid his city of its costumed vigilante problem. Outlawing vigilantism to declare war on heroes from street level to even earth’s mightiest, Fisk will unleash even their own dark secrets against them. No hero is safe from Fisk bringing his vision of order to fruition.
At New York Comic Con 2013, Marvel announced that they had solidified their rights to Miracleman and that Neil Gaiman would finish the story he had started 25 years earlier. The series is being reprinted in a giant-sized format, with each issue containing a reprint of the corresponding issue of the Eclipse Comics series, reprints of select Mick Anglo Marvelman stories, and non-fiction material such as essays, photos, and Marvelman design sketches. The first issue, reprinting the recolored and relettered stories from Warrior #1 & 2/Miracleman #1, was released on January 15, 2014.
The reprints continued, collecting remastered and recolored work of the original run, with hardcover collections following, and in September 2014 the first new Miracleman material under the Marvel Comics banner was announced. Featuring a ‘lost’ story by Grant Morrison that he wrote in the 1980s, and drawn by Joe Quesada, it will be joined by a brand new story by Peter Milligan and Mike Allred.
The reprints proceed through #16 when the series was retitled Miracleman: The Golden Age which reprinted issues 17-22. Miracleman by Gaiman & Buckingham: The Silver Age issues 1 to 3 were announced for release in 2017.
Miracleman #0 NM $6
Miracleman #1 VF-NM $3
Miracleman #6 NM Pollybagged $5
Miracleman #8 NM Bagged (Book 2 The Red King Syndrome) $4
Miracleman #10 NM Bagged (Book 2 The Red King Syndrome) $4
Miracleman #11 NM Bagged (Book 3 Olympus) $4
Miracleman #12 NM Bagged (Book 3 Olympus) $4
Miracleman #13 NM Bagged (Book 3 Olympus) $4
Miracleman #14 NM Bagged (Book 3 Olympus) $4
Miracleman #15B NM Bagged (Book 3 Olympus) $4
Miracleman Annual #1 NM Pollybagged $5
Miracleman – Book 4 The Golden Age #6 Coipel Variant NM $14
Miracleman – Book 4 The Golden Age #6 Andrews Variant NM $9
In the early 1970s, horror was hot once again, and Marvel filled that demand with a number of titles, including Chamber of Chills, Supernatural Thrillers, Crypt of Shadows, and Fear. Like many of these, Vault of Evil relied on reprint material from its 1950s precursor, Atlas comics.
EHT Comics 